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post #30301 of 30890 Old 06-10-2019, 09:19 AM - Thread Starter
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Nielsen Overnights (Broadcast)
Ratings: Game 6 of NBC’s Stanley Cup Finals Roughs Up CBS’ Tony Awards
By Tony Maglio, TheWrap.com - Jun. 10, 2019

With a big Game 6 win, the Boston Bruins forced the two most exciting words in sports, “Game 7,” versus the St. Louis Blues in the NHL Stanley Cup Finals. The Bruins also handed NBC a big Sunday win, roughing up CBS’ Tony Awards.

Due to the nature of live sports, the below fast-national Nielsen numbers for NBC should be considered subject to significant — and upward — adjustment. For now, Game 6 scored a 1.9 rating/9 share among adults 18-49 and 6.1 million total viewers. The Tonys got a 0.8/4 and 5.5 million viewers.

With a bunch of game show season premieres on its schedule, ABC actually edged CBS in the key demo in terms of primetime averages. However, CBS finished No. 1 in viewers when averaging the totality of primetime — for now, at least.

NBC was first in ratings with a 1.6 rating/8 share in the advertiser-coveted 18-49 demographic and second in total viewers with an average of 5.4 million, according to preliminary numbers. A special “Deal or No Deal” at 7 p.m. had a 0.7/4 and 3.4 million viewers. The hockey game started at 8.

ABC was second in ratings with a 0.8/4 and third in viewers with 5 million. Following a rerun, the “Celebrity Family Feud” season premiere at 8 got a 1.0/5 and 6 million viewers. At 9, the “$100,000 Pyramid” season premiere received a 0.9/4 and 5.5 million viewers. The “To Tell the Truth” season premiere at 10 had a 0.8/4 and 4.5 million viewers.

CBS was third in ratings with a 0.7/4 and first in viewers with 5.9 million. At 7, “60 Minutes” got a 0.6/3 and 7.4 million viewers. The Tony Awards followed.

Univision and Fox tied for fourth in ratings, both with a 0.4/2. Univision was fourth in total viewers with 1.064 million; Fox was fifth with 1.059 million, airing all repeats.

Telemundo was sixth in ratings with a 0.3/1 and in viewers with 674,000.

The CW was seventh in ratings with a 0.1/0 and in viewers with 518,000. “Burden of Truth” at 8 had a 0.1/0 and 492,000 viewers. A rerun followed.

https://www.thewrap.com/members/2019...boston-bruins/
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post #30302 of 30890 Old 06-10-2019, 09:22 AM - Thread Starter
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TV/Legal Notes (Cable)
Comcast Hit with $9.1M Penalty in Washington State for Bogus Service Protection Plan Billing
By Daniel Frankel, Multichannel News

A Washington State judge ruled that Comcast violated consumer protection laws more than 445,000 times, bogusly charging thousands of state cable consumers for a $5.99 plan they didn’t even know they were getting.

Associated Press reports that Judge Timothy Bradshaw ordered Comcast to pay $9.1 million in penalties. The judge also ordered the operator to pay back all the customers it has been ruled to have misled, with 12% interest. That figure could exceed another $3 million.

State Attorney General Bob Ferguson, who filed the suit in 2016, counted 30,946 Washington Comcast customers who were charged for the service within the span of July 1, 2014 and June 30, 2016, and didn’t even know they were getting it. The AG reported another 18,660 who were allegedly misled about the true cost of the plan.

“Comcast refused to accept responsibility for its egregious conduct that resulted in Washingtonians losing money every month for a product they did not want or request,” Ferguson said in a statement. “Instead of making things right for Washingtonians, Comcast sent an army of corporate lawyers into court to try to avoid accountability.”

For its part, Comcast—a company that reported $86 billion in 2018 revenue—doesn’t seem all that fazed.

“We’re pleased that the court ruled in our favor on several of the Attorney General’s key claims and awarded less than 5% of what he was seeking in damages,” the cable company said in a statement. "The Judge recognized that any issues he did find have since been fully addressed by Comcast through the significant investments we have made in improving the customer experience and consent process, and that throughout Comcast acted in good faith. We will continue to make significant investments in how we serve our customers because it is the right thing to do and are fully committed to our customers in Washington state.”

https://www.multichannel.com/news/wa...-bogus-billing
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post #30303 of 30890 Old 06-10-2019, 09:26 AM - Thread Starter
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TV/Washington Notes
Supreme Court agrees to decide race-bias claim against cable TV giants
By David G. Savage, Los Angeles Times - Jun. 10, 2019

The Supreme Court on Monday agreed to hear an appeal from two of the nation’s largest cable TV firms and decide whether they can be sued under the nation’s oldest civil rights law for having refused to carry the programs of an African American-owned network.

Byron Allen, a comedian, entrepreneur and owner of Los Angeles-based Entertainment Studios Networks, said he repeatedly contacted Comcast and Charter Communications over several years seeking to have his channels carried on those cable networks.

He said those companies had made no licensing deals with programming firms owned by African Americans, and he alleged several executives had made racially derogatory comments. In 2016, he filed a $10-billion discrimination suit against Charter and a $20-billion claim against Comcast.

A federal judge in Los Angeles refused to dismiss the suits. And in February, the 9th Circuit Court of Appeals cleared the suits to proceed, ruling the cable firms could be held liable if racial bias was “a motivating factor” in their refusal to do business with Allen’s firm, even if it was not the deciding factor or the actual cause.

The discrimination suit was brought under the Civil Rights Act of 1866. Adopted by the Reconstruction Congress, it said “all persons … shall have the same right” to “make and enforce contracts … as is enjoyed by white citizens.”

The Supreme Court in recent decades has set a higher bar for some anti-discrimination laws, ruling that plaintiffs must prove that illegal bias was the actual cause of an employer’s decision to fire or not hire someone.

But the 9th Circuit said the older civil rights law made clear that African Americans were entitled to the “same rights” to make contracts. “If discriminatory intent plays any role in a defendant’s decision not to contract with a plaintiff, even if it is merely one factor and not the sole cause of the decision, then that plaintiff has not enjoyed the same right as a white citizen,” wrote Judge Milan D. Smith Jr. in a 3-0 decision.

He said it was possible the programming decisions made by the cable companies were “attributable wholly to legitimate, race-neutral considerations,” but the appeals court refused to block the discrimination suits at a preliminary stage. The allegations in the complaint suggest that “discriminatory intent played at least some role in Charter’s refusal to contract with Entertainment Studios, thus denying the latter the same right to contract as a white-owned company,” the 9th Circuit concluded.

Lawyers for Charter and Comcast filed separate appeals to the Supreme Court. One described Allen’s suit as alleging an “outlandish racist conspiracy.” Their appeals said several of his channels, including Comedy.TV and Recipe.TV, seek to target the same audience as better-known channels like Comedy Central and the Food Network, which are carried by the two cable companies.

They urged the Supreme Court to hear the case and to rule that a federal civil rights suit requires proof of actual discrimination. This is referred to as “but-for causation,” meaning the decision would not have been made but for racial bias.

Charter also said the court should recognize the company’s 1st Amendment free-speech right to select the programs and channels, but the high court said it would not consider that issue.

The case is Comcast vs. National Assn. of African American Owned Media and Entertainment Studios Networks.

https://www.latimes.com/politics/la-...610-story.html
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post #30304 of 30890 Old 06-10-2019, 09:30 AM - Thread Starter
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TV Notes (Streaming)
'Love, Death and Robots' Renewed at Netflix, Adds 'Kung Fu Panda 3' Director
By Rick Porter, The Hollywood Reporter - Jun. 10, 2019

Netflix has picked up its series Love, Death and Robots for a second run, and the anthology is bringing aboard an animation veteran to help bring the show to life.

Jennifer Yuh Nelson, the director of Kung Fu Panda 2 and 3, will join the series as supervising director for the second season — or "volume," as the show's producers call it. A release date and episode count for the new run has yet to be determined.

Love, Death and Robots premiered in March on the streaming giant. The series comes from Deadpool director Tim Miller and David Fincher; the first season consisted of 18 shorts spanning sci-fi, comedy and horror, all dealing with some or all of the three subjects mentioned in the title.

"Love, Death and Robots is my dream project," said Miller when the series was announced. "It combines my love of animation and amazing stories. Midnight movies, comics, books and magazines of fantastic fiction have inspired me for decades, but they were relegated to the fringe culture of geeks and nerds of which I was a part. I’m so ****ing excited that the creative landscape has finally changed enough for adult-themed animation to become part of a larger cultural conversation."

Nelson began her career in animation working as a director, story artist and character designer on Todd MacFarlane's Spawn at HBO. She later moved to DreamWorks Animation and worked on films including Sinbad: Legend of the Seven Seas, Madagascar and the Kung Fu Panda franchise, directing the latter's two sequels.

She made her live-action directing debut in 2018 with YA thriller The Darkest Minds.

https://www.hollywoodreporter.com/li...-joins-1216997
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post #30305 of 30890 Old 06-10-2019, 09:35 AM - Thread Starter
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This story reads better while watching the pictures of the performers it's profiling.

TV/Critic's Notes

America Has a New National Pastime
Drag is now a full-fledged spectator sport. And drag queens now have a shot at pop stardom.
By Matthew Schneir, Vulture.com (New York Magazine) - Jun. 10, 2019

[CLICK LINK BELOW]

https://www.vulture.com/2019/06/how-...l-pastime.html
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post #30306 of 30890 Old 06-10-2019, 09:43 AM - Thread Starter
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TV/Critic's Notes
Some of TV’s best shows are drawing inspiration from the news
By Matthew Gilbert, Boston Globe's 'Buzzsaw' Column

In making “When They See Us,” her new scripted miniseries about the so-called Central Park Five, Ava DuVernay made an important choice. Rather than cast an actor in the role of Donald Trump, who inserted himself into the 1989 case by buying ads calling for the death penalty, she decided to use news clips of him. Her goal was to keep the focus on the black and Latino kids who were railroaded into confessions and imprisoned, not the 1980s icon of greed, the man who threw gasoline on the racist fires that ultimately doomed the five innocent boys.

With an actor playing Trump, the dead serious tone of DuVernay’s four-part Netflix drama would surely have been compromised. There is no easy way to have an actor do Trump without going for comedy, or without somehow pulling the viewer out of the emotional story line. The primary mission of “When They See Us” is to bring us close to the boys so we’ll feel — and not just know about — the injustice and racism they suffered.

We’re in a rich era of scripted nonfiction, as more and more prestige shows are using real news stories as their foundation. Among the best, alongside “When They See Us,” are Showtime’s “Escape at Dannemora,” Amazon’s “A Very English Scandal,” HBO’s “Chernobyl,” and FX’s Ryan Murphy shows, including “The People v. O.J. Simpson: American Crime Story” and “The Assassination of Gianni Versace: American Crime Story.” These limited series are far from the cheap-thrills real-life stories you’d find on Lifetime, where triggering the viewer’s fear is often the prime mover. They’re anything but that cable network’s “Taken in Broad Daylight” or “Restless Virgins,” as they move beyond tabloid button-pushing toward some greater theme.

Each creator has his or her own motives for choosing which stories to retell, since the denouements are public knowledge. There are no spoiler warnings necessary. Often, they want to highlight a particular angle onto the case, to get us to rethink a story we already know about. With “When They See Us,” DuVernay is trying to reclaim the media narrative about the kids accused of raping and beating a Central Park jogger; she is also reminding us that, tragically, the case is as relevant as ever. When it comes to institutionalized racism and emotion-driven media frenzies, we remain stuck.

“Chernobyl,” created and written by Craig Mazin, also serves as a difficult reminder of problems that continue to haunt the world. The five-parter painfully depicts the nuclear disaster in the Soviet Ukraine in 1986 and the grim aftermath. Two of the central characters, played by Jared Harris and Emily Watson, are scientists whose advice is ignored, as the government puts its own spin on the catastrophe in an effort to save face. Ignoring science and promoting disinformation are as threatening now as they were then, particularly when it comes to climate change and the era of fake news. In “Chernobyl,” the radiation levels rise alongside the deceitfulness of those in charge.

“Chernobyl” and “When They See Us” make their points without a hint of humor. Their difficult facts, combined with an intimacy with the characters, drive their points home. The acting in both miniseries is top-notch, with Harris effectively evoking his usual amount of inner pain, but the emphasis is on the dark events portrayed.

Ryan Murphy and his co-writers and producers have taken a somewhat different approach to nonfiction in their FX series, including “Feud: Bette and Joan.” He, too, wants to reframe past events from a contemporary perspective. In “The Assassination of Gianni Versace,” he wanted us to see how homophobia contributed to the slow capture of Andrew Cunanan — how the police made tragic presumptions about this gay killer, and his gay (and in some cases closeted) victims. And Murphy was successful in conveying this perspective without letting it dominate. We could see the homophobia at play, but we had to be watching actively.

Likewise, “The People v. O.J. Simpson” invited us to reconsider the story that changed the country. The series wasn’t about deciding whether or not Simpson was guilty; it was about looking at each player’s humanity, about looking at the role of race in our criminal justice system, about the sexism faced by prosecutor Marcia Clark, and about the start of the fame-for-fame’s-sake era we’re now drowning in.

But with his love of melodrama, pop culture, and camp, Murphy also carefully adds a layer of entertainment onto his scripted nonfictions. The casts of “The People v. O.J. Simpson” and “The Assassination of Gianni Versace,” for example, are star-studded, featuring a few bravura performances, notably Sarah Paulson’s turn as Clark. His series play into our pop awareness, letting us find pleasure in watching the actors transform themselves into well-known figures such as Johnnie Cochran and Donatella Versace. The reframing ideas shine through, but, unlike “Chernobyl,” the surfaces are highly stylized. “Feud: Bette and Joan” is camp fun, certainly, with a dazzling old-Hollywood veneer, but it also wants us to see the movie-biz sexism that fed the feud between Joan Crawford and Bette Davis. His “Fosse/Verdon,” too, unearths sexism as it dissects a complex creative relationship between director/choreographer Bob Fosse and actress Gwen Verdon.

“Escape at Dannemora,” created and written by Brett Johnson and Michael Tolkin, walks the same balance beam as Murphy’s shows, as it dangles stars in front of us. Benicio del Toro, Patricia Arquette, and Paul Dano are the triangle of lovers, with the two convicted murderers using Arquette’s corrections worker to help them escape from the upstate New York prison in 2015. But the quality of the acting isn’t distracting; it’s elevating. What lifts “Dannemora” above the average fact-based re-creation is its character development. Across seven episodes, we see how the escape worked — not just how the pair figured a way out of the prison, but the psychological manipulations that led Arquette’s Joyce Mitchell astray.

As in “A Very English Scandal,” a three-parter written by Russell T Davies about Jeremy Thorpe, the British politician charged in the ’70s with conspiring to murder a male ex-lover, “Dannemora” adds a human dimension that got missed in the real-time news. It adds to our understanding of the headline-grabbing events of our time.

https://www.bostonglobe.com/arts/tel...aOO/story.html
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Spoiler!
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post #30308 of 30890 Old 06-10-2019, 09:52 AM - Thread Starter
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TV/Production Notes (Broadcast)
‘Tommy’: Tom Szentgyorgyi Set As Showrunner of New CBS Drama Series Starring Edie Falco
By Nellie Andreeva, Deadline.com - Jun. 10, 2019

EXCLUSIVE: Tom Szentgyorgyi (The Mentalist) has joined newly picked up CBS drama series Tommy, starring Edie Falco, as executive producer and showrunner.

The series, from CBS TV Studios and Amblin TV, is created/executive produced by Homicide: Life On the Streets creator Paul Attanasio. He is known as a prolific creator who develops and writes projects, guiding them to series, but is not interested in day-to-day showrunning. He similarly co-created with Phil McGraw the successful CBS drama series Bull, which has been run by others, currently Glenn Gordon Caron. Attanasio remains an executive producer on both Bull and Tommy.

Tommy, set to debut in midseason, stars Falco as Abigail “Tommy” Thomas, a former high-ranking NYPD officer who becomes the first female Chief of Police of Los Angeles. She uses her unflinching honesty and hardball tactics to navigate the social, political and national-security issues that converge with enforcing the law.

The series’ regular cast also includes Michael Chernus, Adelaide Clemens, Russell G. Jones, Olivia Lucy Phillip and Joseph Lyle Taylor. Kate Dennis directed the pilot from a script by Attanasio.

Attanasio and Szentgyorgyi executive produces with Darryl Frank and Justin Falvey of Amblin TV.

Szentgyorgyi is coming off a stint as an executive producer on another Amblin TV series, NBC genre drama Reverie.

He also has a history at CBS where he spent six season on the popular drama procedural The Mentalist, rising to executive producer and co-showrunner.

A playwright, Szentgyorgyi got his start in series television on Aaron Sorkin’s Sports Night, and his second job in the business was working for Attanasio on Attanasio’s medical drama Gideon’s Crossing. He is repped by Jackoway Austen.

https://deadline.com/2019/06/tommy-t...io-1202629107/
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post #30309 of 30890 Old 06-10-2019, 09:59 AM - Thread Starter
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TV Notes (Cable)
‘Los Espookys,’ a Spanish-Language Comedy for an HBO Audience
By Dave Itzkoff, The New York Times - Jun. 10, 2019

How to summarize the breezy sensibility of “Los Espookys,” a new HBO comedy about a group of friends in an unnamed Latin American country who earn a living by staging fake horror events?

In a scene from a coming episode, two members of the team (played by Ana Fabrega and Julio Torres) are shopping for a mirror that could look like the gateway to an alternate dimension. As they browse, Fabrega’s character reflects on her career of unfulfilling short-term jobs.

“You know,” she confesses, “my dream is to be Cirque du Soleil.”

Torres asks her, “You want to be in Cirque du Soleil?”

“No,” Fabrega replies, “I want to be Cirque du Soleil,” explaining that she wants to be the acrobats, the tents, the audience and the merchandise.

Like the rest of “Los Espookys,” it is earnest, eccentric and casually surreal. It is also performed principally in Spanish, making it a rare HBO series that is delivered in a language other than English.

“Los Espookys,” which will make its debut on Friday is created by Fabrega, Torres and Fred Armisen, a “Saturday Night Live” alumnus who has also helped create the comedy shows “Documentary Now!” and “Portlandia.”

Their new series, they said, is an attempt to pay homage to their Latin American roots, to ever-so-slightly expand the boundaries of what American viewers might watch and to transcend what they see as a double-standard in TV programming.

As Torres put it, “If a show’s in English, it’s meant to be consumed by the entire world. If a show is in any other language, then it’s just for those people. ”The comic spirit of “Los Espookys” might be offbeat, Torres said, but the language spoken by its characters should not be a barrier to anyone’s entry.

“It’s intended for as wide an audience as it can reach,” he said of the show, “but with a very specific, un-broad sensibility.”

During his “S.N.L.” tenure, Armisen wove in the occasional Spanish-language sketch, like the soap-opera parody “Besos y Lagrimas,” and played characters inspired by Spanish TV, like the wisecracking drummer Ferecito. Some of these performances were tributes to his mother, who is Venezuelan, and the culture she exposed him to growing up.

More recently, Armisen said he wanted to create a Spanish show “that isn’t an explanation of Latino culture, that’s moving past the foreignness of it.”

“It’s not as if people haven’t heard of Latino culture before,” he added. “It’s a part of American culture. It’s a shorthand with everyone.”

He said he also wanted to create a show that was fundamentally optimistic in its outlook. “I just don’t like conflict on TV,” Armisen said. “Every time I see a problem on a show — a dramatic problem, a storytelling problem, I’m always like, oh, just get to the good stuff.”

Near the conclusion of his IFC sketch series “Portlandia” — another comedy show that presents an exaggerated depiction of an idiosyncratic locale — Armisen took a research trip to Mexico City.

There, he encountered a youth culture that was fascinated with Gothic fashion, horror movies, death metal and rockabilly music. He wanted to incorporate these ideas into his new show, and even toyed with the idea of calling it “Mexico City (Only Good Things Happen).”

But that plan evolved as Armisen refined it with the help of Fabrega (who has appeared on “Portlandia” and “At Home With Amy Sedaris”) and Torres (a current writer for “S.N.L.”).

Fabrega, who is of Panamanian descent, and Torres, who was born and raised in El Salvador, shared Armisen’s vision that the characters they played should all speak Spanish. “Why would we shoot something and say we’re all Hispanic but no one is speaking Spanish?” Fabrega said.

Providing English-language subtitles, the creators felt, would be enough for viewers to follow along.

“It feels like 90 percent of the world can watch a ‘Transformers’ movie subtitled in their own language,” Torres said. “Children have no problem doing it. Let’s see how malleable the American adult is. I don’t think it’ll be much of a challenge.”

The performers also shaped the characters they would play on “Los Espookys”: Fabrega cast herself as a trusting jack-of-all-trades named Tati. “She’s very naïve and kind and open, but to a fault,” she said. “I just wanted to explore someone who has the best intentions but is lost.”

Torres plays Andrés, the enigmatic heir to a chocolate confectioner’s fortune. “There’s a very narrow scope of people that I can and would play,” he said. “This falls somewhere in that range.”

The “Los Espookys” team is rounded out by the levelheaded Úrsula (played by Cassandra Ciangherotti) and Renaldo (Bernardo Velasco), the team’s founder, who wears gothic choker necklaces and mesh tops but has a good heart underneath.

Armisen plays the role of Renaldo’s uncle, a virtuoso parking valet, but Fabrega suggested that the characters could be connected in other ways. “I feel like there might be a little Fred in Renaldo,” she said, “in how unwaveringly happy or excited he is about things. He’s like, ‘This is what I’m going to do. Let’s figure out how to make it happen.’”

The initial specificity of the show’s setting became more ambiguous, to reflect its mixture of different Latin American accents and traditions: a world where the mundane and the fantastic — a frustrated dental assistant, a haunted house, a multilevel marketing scheme and an ethereal spirit obsessed with the film “The King’s Speech” — can comfortably coexist. The initial six-episode season of “Los Espookys” was shot in and around Santiago, Chile, though the show never says exactly where it takes place.

Armisen said he once envisioned that “Los Espookys” would land at a Spanish-language cable channel like HBO Latino. But HBO expressed interest in the show for its main channel, where it has recently aired programming like its Italian-language adaptation of the Elena Ferrante novel “My Brilliant Friend.”

Amy Gravitt, an executive vice president of programming at HBO, said that she never questioned the decision to present “Los Espookys” in Spanish.

“As a comedy executive, I’m always going to support any choice that reinforces the tone of the show,” she said. “Of course this group of characters would speak Spanish — that’s who they are.”

Among the few consequences of this decision, Gravitt said, was that the show’s English subtitles had to be more carefully calibrated so that “as you’re reading them, they’re not stepping on the joke that the performer is trying to deliver.” Also, Gravitt said that scripts for table reads were printed in Spanish and in English “because I don’t speak Spanish all that well.”

Lorne Michaels, who is an executive producer of “Los Espookys,” said that the meticulousness of the universe in which the series takes place, and all the elements it uses — including language — to create that universe would help it stand out.

“The normal thing you used to hear from networks was, how do you make it broader?” said Michaels, the creator and longtime executive producer of “Saturday Night Live.” “But we don’t live in that world anymore. The audience is much more adventurous and open. People will find it, and none of it is too hard to understand.”

To the extent that there is any overt political commentary in “Los Espookys,” it is light, and largely embodied by the character of an airhead American ambassador (played by Greta Titelman) to whom the protagonists turn in search of United States visas.

Fabrega said that the series had no larger agenda, “other than saying, ‘Do you think this is funny?’”

But Torres, who has an HBO stand-up special premiering later this summer, said he could anticipate any number of reactions to “Los Espookys.”

“I think a lot of people will see the mere existence of the show as inherently political,” he said, “in the same way that I’ve done work that I thought wasn’t political, but ended up being looked at that way.”

Armisen said that he had just one ulterior motive he wanted “Los Espookys” to fulfill.

“My hope is that it gets the goth movement riled up and motivated to take over the world — if anything, that’s the one group whose rights I’m speaking for,” he said. “One day all nations will have a goth as a leader.”

https://www.nytimes.com/2019/06/10/a...misen-hbo.html
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post #30310 of 30890 Old 06-10-2019, 10:04 AM - Thread Starter
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Media/Technology Notes
Apple Is Pulling the Plug on iTunes. So What Happens to All Your Music?
By Alex Fitzpatrick, TIME.com

iTunes? More like ByeTunes.

Apple is retiring the Mac version of its nearly 20-year-old music listening and library app, the company announced Monday at WWDC, its annual conference for software developers.

With the upcoming version of MacOS, called Catalina, iTunes will be replaced with three separate apps for music, podcasts and shows or movies. While Apple has been trying to push users toward its subscription-based Apple Music streaming service, the company’s iTunes Music Store — where songs can be individually purchased for download — will live on. (iTunes itself will also live on for Windows users, Ars Technica reports.)

While iTunes (and especially the iTunes Music Store) helped change the way we enjoy our favorite music, there will be few tearjerking obituaries for the software. Apple asked too much of iTunes over the years, turning it from a lean-yet-powerful music cataloging app into a slow-loading behemoth tasked with managing your iPod and iPhone, podcasts, ebooks and more. To his credit, Apple software boss Craig Federighi poked fun at all this bloat on stage, joking that iTunes should have a calendar and email, too.

It’s really a blessing that Apple is trifurcating iTunes. But what’s going to happen to all that music you’ve collected over the years? Worry not, Apple says in a press release announcing macOS Catalina: “Users will have access to their entire music library, whether they downloaded the songs, purchased them or ripped them from a CD.” You’ll just have to use that new Music app instead of iTunes.

iPhone management, meanwhile, is finally moving to where it’s really belonged since day one: The macOS Finder. Just plug in your device, and you’ll be able to take care of business directly from your desktop — no iTunes required.

So long, iTunes. And thanks for all the hits.

https://time.com/5600502/apple-itunes-app-music/
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Because we have to pay for all that stuff we don't watch in our bundled Cable/Satellite/Streaming bills.
That applies to way more stuff than news channels.
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 10, 2019

STRAIGHT FORWARD
Acorn TV, 3:00 a.m. ET
SERIES PREMIERE:
This new crime series is a co-production between Scandinavia and New Zealand, which makes for an unusual viewing experience: most of the drama is in English, but the rest is in Danish, with subtitles. It begins in Copenhagen, and shifts to Queenstown, and the story itself is similarly bifurcated. A Danish con woman, played by Cecilie Stenspil, targets a crime kingpin (Mark Mitchinson) for killing her father. What begins as a tale of revenge, though, shifts as her plan goes south, and she goes halfway around the world to hide. But there’s a rogue cop on her trail – and the bad guys are on her trail, too, and targeting her mother and daughter back home. The villains are kind of over the top, but the settings and cultures are significantly different from the TV norm – and leading lady Stenspil is quite formidable in the central role.

FERRIS BUELLER'S DAY OFF
Sundance, 8:00 p.m. ET

This 1986 comedy is one of John Hughes’ most beloved movies, which is saying something. Matthew Broderick stars in what remains, after all this time, one of his most memorable and indelible roles. Mia Sara, Jennifer Grey and Jeffrey Jones co-star.

CLEOPATRA
TCM, 8:00 p.m. ET

Elizabeth Taylor and Richard Burton star in this mammoth costume epic – yet no matter how lavish the sets and spectacles in this 1963 film, nothing and no one outshines Taylor. Cleopatra was queen of the Nile, and Elizabeth Taylor, just as royally, rules as the queen of Cleopatra.

THE GIRL IN THE SPIDER'S WEB
Starz!, 9:06 p.m. ET

In this 2018 thriller, Claire Foy, taking quite a departure from playing Queen Elizabeth II in The Crown, becomes the third actress to portray Lisbeth Salander, the tattooed lady from the bestselling novels by Stieg Larsson (another Scandinavian: how Swede it is). In earlier movies, the punk hacker was played by Noomi Rapace and Rooney Mara.


http://www.tvworthwatching.com/

* * * *

TV Review (Streaming)
'Straight Forward' is on Track with Great Acting
By David Hinckley, TVWorthWatching.com's 'All Along the Watchtower' - Jun. 10, 2019

If you’ve been dying for a crime thriller that unfolds simultaneously in New Zealand and Denmark, your long wait ends with Straight Forward.

Straight Forward, which becomes available starting Monday through Acorn, bets on our getting invested in a sort of antihero, in the style of Michele Dockery’s character from the late Good Behavior.

Sylvia Petersen (Cecilie Stenspil) is a small-time Danish con woman who has essentially gone into the family business. Her father, Des (Andrew Grainger, bottom), is a larger-time con man who lately has been smuggling stolen furniture from places like Belarus.

In the classic style of The Godfather and other crime family dramas, Dad is a wonderful guy who loves his family, takes them to expensive dinners, and really would do pretty much anything for them. They adore him just as much as they would if he didn’t steal for a living.

So one night, Sylvia and her coming-of-age daughter Ida (Marie Boda) meet Mom, Marie (Vibeke Hastrup), and Dad for dinner. There’s a bit of a kerfuffle with Ida, who resents Sylvia always badmouthing her father, but the real headline from the evening is that as Des and Marie walk out after dinner toward their car, a black SUV pulls up, and a man jumps out and shoots Des dead.

The gunman, it turns out, is of little consequence. The hit was ordered by an even bigger-time crook named Ravn (Mark Mitchinson). Something about 18 million kroner and stealing.

Anyhow, Sylvia knows enough about Dad’s business that she instantly pegs Ravn as the culprit. The police know it, too. Trouble is, the police can’t do anything without evidence, which seems to be scarce.

Sylvia has no such constraints. Her problem is that her stab at instant justice goes awry, forcing her to put on a new wig and catch the next plane for New Zealand, where she hopes Ravn doesn’t have eyes and ears.

Ravn does, however, have a pretty viable network back in Denmark, and he’s aware that Marie and Ida are still around. That gives him serious leverage and presents a major challenge for Sylvia.

How does she stay hidden while ensuring the safety of two people halfway around the world?

Straight Forward sets up an interesting and somewhat complicated story, with numerous potential crime and thriller elements.

It has a few characters who are more or less good guys, though the other kind outnumbers them. The big question for most viewers will be how much they sympathize with and pull for Sylvia.

She’s not a bad person, as they say, but living in a dirty world has left her with dirty hands. That world has also left her with a default mode of suspicion, and she doesn’t always play perfectly with others.

Stenspil does a good job creating the character, and we’d like her mission to succeed. It’s just not the easiest journey in which to become invested.

http://www.tvworthwatching.com/BlogP...x?postId=18344
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TV Notes (Cable)
‘Corporate’ Renewed for Third and Final Season at Comedy Central
By Joe Otterson, Variety.com - Jun. 10, 2019

“Corporate” has been renewed for Season 3 at Comedy Central in what will also be the show’s last season.

The third season will debut in 2020. Season 2 of the scripted series launched back in January. Led by stars Jake Weisman, Matt Ingebretson, Lance Reddick, Aparna Nancherla, Anne Dudek and Adam Lustick, the series looks at life as a Junior-Executive-in-Training at a soulless multinational corporation. Matt and Jake (Ingebretson and Weisman) are at the mercy of a tyrannical CEO Christian DeVille (Reddick) and his top lieutenants, sycophants John and Kate (Lustick and Dudek). As Matt and Jake navigate an ever-revolving series of disasters, their only ally is Human Resources rep Grace (Nancherla), who is beleaguered by both her job and her exhausting relationship with the very needy Matt and Jake.

The series was created by Pat Bishop, Ingebretson and Weisman. Guest stars in Season 2 included Kyra Sedgwick, Elizabeth Perkins, Kristen Schaal, Sasheer Zamata, Baron Vaughn, and Andy Richter. “Corporate” has received mostly positive reviews from critics, currently holding a 93% approval rating on Rotten Tomatoes between its first two seasons.

In addition to flagship programming like “South Park” and “The Daily Show with Trevor Noah,” Comedy Central’s current lineup includes shows like “The Other Two,” “The New Negroes with Baron Vaughn and Open Mike Eagle,” and upcoming shows like “Lights Out with David Spade,” “Awkwafina and Robbie,” and “Alternatino with Arturo Castro.”

https://variety.com/2019/tv/news/cor...al-1203238056/
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TV Notes
On The Air Tonight
MONDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)
From Zap2it.com's TV Grid - Jun. 10, 2019

ABC:
8PM - Jimmy Kimmel Live! Game Night: Anthony Anderson
8:31PM - NBA Countdown (LIVE)
9PM - 2019 NBA Finals, Game 5: Golden State Warriors at Toronto Raptors (LIVE)
* * * *
12:05AM - Jimmy Kimmel Live! (Will Arnett; Ali Wong; King Calaway performs)
1:07AM - Nightline

CBS:
8PM - The Neighborhood
(R)
8:30PM - Man With A Plan
(R)
9PM - Magnum P.I.
(R)
10PM - Bull
(R)
* * *
11:35PM - The Late Show with Stephen Colbert (Samuel L. Jackson; former Defense Secretary Ash Carter)
12:37AM - The Late Late Show With James Corden (Mark Hamill; Bradley Whitford; Lewis Capaldi performs)

NBC:
8PM - American Ninja Warrior: Los Angeles City Qualifiers (120 min.)
(R)
10PM - Dateline NBC: She Did Everything Right
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (Shailene Woodley; Brian Tyree Henry; The National performs)
12:37AM - Late Night With Seth Meyers (Steve Buscemi; Zosia Mamet; Noah Kahan performs)
1:38AM - Last Call With Carson Daly (Michael Emerson; T. Hardy Morris performs; Kathryn Newton)
(R)

FOX:
8PM - Beat Shazam
9PM - So You Think You Can Dance

THE CW:
8PM - Masters of Illusion
(R)
8:30PM - Masters of Illusion
(R)
9PM - The Big Stage
(R)
9:30PM - The Big Stage
(R)

PBS:
8PM - Antiques Roadshow: San Diego
(R)
9PM - Antiques Roadshow: San Diego
(R)
10PM - Independent Lens - T-Rex: Her Fight for Gold (90 min.)
(R)

UNIVISION:
8PM - La Reina Soy Yo
9PM - Silvia Penal, Frente a Ti
10PM - Por Amar Sin Ley

TELEMUNDO:
8PM - Un Poquito Tuyo
9PM - Betty in NY
10PM - La Reina del Sur

A&E:
8PM - Live PD: Police Patrol
8:30PM - Live PD: Police Patrol
9PM - Live Rescue (120 min., LIVE)

HALLMARK:
8PM - Good Witch: The Forever Tree, Pt. 2

USA:
8PM - WWE Monday Night RAW (3 hrs., LIVE)

VH1:
8PM - Love & Hip Hop: Atlanta
9:01PM - T.I. & Tiny: Friends and Family Hustle

BRAVO:
9PM - Below Deck Mediterranean
10PM - Below Deck Mediterranean
(R)
* * * *
11PM - Watch What Happens Live With Andy Cohen (Laura Linney; John Cena)

MTV:
9PM - Teen Mom OG (Season Premiere, 122 min.)

TLC:
9PM - 90 Day Fiancé: The Other Way
10PM - Kate Plus Date (Series Premiere)

HBO:
10PM - Gentleman Jack (Season Finale, 62 min.)

TVONE:
10PM - The DL Hughley Show (Omar Epps)

PARAMOUNT:
10PM - Cops
10:30PM - Cops
(R)

COMEDY CENTRAL:
11PM - The Daily Show With Trevor Noah (Guest TBA, 36 min.)

E!
10PM - Nightly Pop

SHOWTIME:
11PM - Desus & Mero (Composer Lin-Manuel Miranda)

TBS:
11PM - Conan (Adam Sandler)


https://tvlistings.zap2it.com/?aid=gapzap
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TV Notes
MONDAY Network Primetime/Late Night Options

COMEDY CENTRAL:
11PM - The Daily Show With Trevor Noah (Guest TBA, 36 min.)

The Daily Show guest tonight is Danielle Brooks (Orange is the New Black).
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TV/Critic's Notes
Some of TV’s best shows are drawing inspiration from the news
By Matthew Gilbert, Boston Globe's 'Buzzsaw' Column
EXCERPT
In making “When They See Us,” her new scripted miniseries about the so-called Central Park Five, Ava DuVernay made an important choice.
https://www.bostonglobe.com/arts/tel...aOO/story.html
So did we. Netflix cancelled.

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That applies to way more stuff than news channels.
Take back the night.

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Nielsen Overnights (Broadcast)
Ratings: Game 6 of NBC’s Stanley Cup Finals Roughs Up CBS’ Tony Awards
By Tony Maglio, TheWrap.com - Jun. 10, 2019

With a big Game 6 win, the Boston Bruins forced the two most exciting words in sports, “Game 7,” versus the St. Louis Blues in the NHL Stanley Cup Finals. The Bruins also handed NBC a big Sunday win, roughing up CBS’ Tony Awards.

Due to the nature of live sports, the below fast-national Nielsen numbers for NBC should be considered subject to significant — and upward — adjustment. For now, Game 6 scored a 1.9 rating/9 share among adults 18-49 and 6.1 million total viewers. The Tonys got a 0.8/4 and 5.5 million viewers.

With a bunch of game show season premieres on its schedule, ABC actually edged CBS in the key demo in terms of primetime averages. However, CBS finished No. 1 in viewers when averaging the totality of primetime — for now, at least.

NBC was first in ratings with a 1.6 rating/8 share in the advertiser-coveted 18-49 demographic and second in total viewers with an average of 5.4 million, according to preliminary numbers. A special “Deal or No Deal” at 7 p.m. had a 0.7/4 and 3.4 million viewers. The hockey game started at 8.

ABC was second in ratings with a 0.8/4 and third in viewers with 5 million. Following a rerun, the “Celebrity Family Feud” season premiere at 8 got a 1.0/5 and 6 million viewers. At 9, the “$100,000 Pyramid” season premiere received a 0.9/4 and 5.5 million viewers. The “To Tell the Truth” season premiere at 10 had a 0.8/4 and 4.5 million viewers.

CBS was third in ratings with a 0.7/4 and first in viewers with 5.9 million. At 7, “60 Minutes” got a 0.6/3 and 7.4 million viewers. The Tony Awards followed.

Univision and Fox tied for fourth in ratings, both with a 0.4/2. Univision was fourth in total viewers with 1.064 million; Fox was fifth with 1.059 million, airing all repeats.

Telemundo was sixth in ratings with a 0.3/1 and in viewers with 674,000.

The CW was seventh in ratings with a 0.1/0 and in viewers with 518,000. “Burden of Truth” at 8 had a 0.1/0 and 492,000 viewers. A rerun followed.

https://www.thewrap.com/members/2019...boston-bruins/
The Stanley Cup game had a 33 rating in St. Louis (peaked at 37) even though an estimated 100k people were downtown at the Enterprise Center, street watch party, Ballpark Village, and other various watch parties not watching on home televisions. The Cardinals vs Cubs game on ESPN got a 3.3 rating.
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TV/Production Notes
‘Dune: The Sisterhood’ Series Ordered By WarnerMedia Streaming Service With Denis Villeneuve Directing
By Nellie Andreeva, Deadline.com - Jun. 10, 2019

WarnerMedia has given a straight-to-series order to Dune: The Sisterhood, a drama from Legendary Television based on Frank Herbert’s classic novel Dune and the popular sci-fi franchise it spawned.

The series is designed to co-exist with the Dune feature film, which is in production at Warner Bros, as part of Legendary’s comprehensive plans for Dune that also include video games, digital content packages and comic book series.

Further underlining the symbiotic relationship between the movie and the series, Denis Villeneuve, who is directing and producing the new Dune film, also is set to executive produce the series and direct its pilot episode, with one of the feature’s co-writers, Jon Spaihts set to write the show. It mirrors NBCUniversal ‘s approach to the Purge franchise, which also encompasses a film and TV series franchise.

Frank Herbert’s Dune portrays a future in which humanity has spread across the galaxy to thousands of worlds, all ruled by the Padishah Emperor, The Imperium. Dune: The Sisterhood explores this universe through the eyes of a mysterious order of women: the Bene Gesserit. Given extraordinary abilities by their mastery of the body and the mind, the Bene Gesserit expertly weave through the feudal politics and intrigue of The Imperium, pursuing plans of their own that will ultimately lead them to the enigmatic planet Arrakis — known to its inhabitants as Dune.

Villeneuve, who also is a co-writer on the upcoming Dune movie, and Spaihts will executive produce with Brian Herbert, Byron Merritt and Kim Herbert for the Frank Herbert estate. Kevin J Anderson will co-produce.

“The Bene Gesserit have always been fascinating to me. Focusing a series around that powerful order of women seemed not only relevant and inspiring but a dynamic setting for the television series,” Villeneuve said.

There have been 20 books in the Dune series that have built a lawyered universe. The first six novels were written by Frank Herbert and the continuation of the series by Frank’s son, Brian Herbert, along with Kevin J. Anderson.

The WarnerMedia streaming platform has been ramping up its series orders. The service recently picked up drama Tokyo Vice, starring Ansel Elgort, and also has Love Life, a romantic comedy anthology series starring and executive produced by Anna Kendrick and Gremlins animated series.

https://deadline.com/2019/06/dune-th...ce-1202630479/
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Technology Notes
YouTube CEO Susan Wojcicki apologizes to LGBTQ community over handling of anti-gay content
By Madeline Purdue, USA Today - Jun. 10, 2019

LOS ANGELES — YouTube CEO Susan Wojcicki apologized to the gay and lesbian community on Monday over the handling of anti-gay comments on the video platform.
“I know that the decisions we made was very hurtful to the LGBTQ community and that wasn’t our intention at all,” Wojcicki said during her opening remarks at the Code Conference, a tech industry gathering in Scottsdale, Ariz..

Wojcicki was referring to videos containing anti-LGBTQ comments by Steven Crowder about Vox journalist, Carlos Maza. After Maza tweeted a video compilation of Crowder's comments on Tuesday of last week, YouTube responded on Twitter that the video did not violate its policies, which led to outcry on social media from YouTube creators and users.

YouTube then decided to demonetize Crowder's videos — meaning he couldn't have ads on his videos or make money through YouTube's system. However, they did not take down the videos, which Wojcicki, despite her apology, defended.

“It’s just from a policy standpoint we need to be consistent — if we took down that content, there would be so much other content that we need to take down.”
YouTube explained its updated policies on hate speech and harassment in a blog post on Wednesday.

"In the coming months, we will be taking a hard look at our harassment policies with an aim to update them — just as we have to so many policies over the years — in consultation with experts, creators, journalists and those who have, themselves, been victims of harassment. We are determined to evolve our policies, and continue to hold our creators and ourselves to a higher standard," said the blog post.

More: YouTube says it's removing more hateful videos from platform
After being pressed about her apology by Axios reporter Ina Friedman at the Code Conference, Wojcicki explained her apology further.

“YouTube has always been a home of so many LGBTQ creators, and that’s why it was so emotional," Wojcicki said. "Even though it was a hard decision, it was harder that it came from us — because it was such an important home. And even though we made this decision, we have so many people from the LGBTQ community. As a company we really want to support this community."

https://www.usatoday.com/story/tech/...eo/1415174001/
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Technology Notes (Gaming)
Microsoft ends Xbox backward compatibility, but Project Scarlett will run Xbox One games
By Tom Warren, TheVerge.com - Jun. 10, 2019

Microsoft is winding down new additions to its Xbox backward compatibility catalog. After adding more than 600 Xbox and Xbox 360 games to the list, the team is now focusing on Microsoft’s next-generation Project Scarlett console.

“We have now shifted our focus to help make the games you love playing on Xbox One compatible with future Xbox hardware,” says Jason Ronald, partner director of the Xbox platform. “After this week, we have no plans to add additional Original Xbox or Xbox 360 titles to the catalog on Xbox One.”

Microsoft is now committing to get every Xbox One game running on Scarlett, alongside games from all four generations of Xbox. While the catalog of old games might be finishing, Microsoft is adding a lot of games as it looks to move toward Scarlett compatibility. Old Xbox classics coming to backward compatibility include:

Armed and Dangerous
Indiana Jones and the Emperor’s Tomb
Sphinx and the Cursed Mummy
Tom Clancy’s Splinter Cell
Tom Clancy’s Splinter Cell Pandora Tomorrow
Tom Clancy’s Splinter Cell Chaos Theory
Tom Clancy’s Splinter Cell Double Agent
Unreal Championship 2: The Liandri Conflict

Xbox 360 additions:

Asura’s Wrath
Battlefield 2: Modern Combat
Enchanted Arms
Enslaved: Odyssey to the West
Far Cry Classic
Far Cry Instincts Predator
Infinite Undiscovery
Peter Jackson’s King Kong: The Official Game of the Movie
Prince of Persia The Forgotten Sands
Skate
Star Ocean: The Last Hope
Super Puzzle Fighter II Turbo
Syndicate
Too Human
Unreal Tournament III

There are even new Xbox One X Enhanced updates:

Banjo-Kazooie
Banjo-Kazooie Nuts & Bolts
Banjo-Tooie
Kameo Elements of Power
Perfect Dark
Perfect Dark Zero
Viva Piñata
Viva Piñata: Trouble in Paradise


https://www.theverge.com/2019/6/10/1...arlett-e3-2019
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TV/Production Notes (Cable)
VH1 Orders Reality Series ‘Girls Cruise’ Starring Lil’ Kim
By Margeaux Sippell, TheWrap.com - Jun. 10, 2019

VH1 has ordered a new reality series “Girls Cruise” starring Lil’ Kim. The rapper will also executive produce the series for Big Fish Entertainment. The show will also star Chilli from the 1990s girls group TLC, as well as international pop star Mýa, Pretty Vee and B. Simone of MTV’s “Wild N’ Out,” and their longtime best friends Tiffany and Char.

You can watch a teaser for the show, premiering in July, above.

Per the network: “As they travel through the Caribbean, the crew hits the high seas on an epic journey filled with hilarious adventures, emotional breakthroughs and spicy romances as they cultivate bonds and unapologetically live their best lives.”

Lil’ Kim, whose legal name is Kimberly Denise Jones, made history as the first woman in hip-hop to have three consecutive Billboard #1 singles. The Grammy Award winner also acts in addition to rapping. Her fifth studio album, “9,” is slated for release this summer. Chilli is a dancer and entrepreneur as well as a singer-songwriter. She also founded the non-profit Chilli’s Crew, which focuses on empowering young girls in Atlanta. Mýa is a Grammy-award winning international pop star.

Elena Diaz and Sitarah Pendelton from VH1 join Jones as executive producers. Dan Cesareo, Lucilla D’Agostino, Anthony Sylvester, James Knox, Ashley McFarlin Buie and Shelley Sinha also serve as executive producers for Big Fish Entertainment.

Deadline was first to report the news.

https://www.thewrap.com/lil-kim-real...se-chilli-mya/
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TV/Production Notes (Cable)
NFL, This Is Us, Big Bang and Masked Singer Top Ratings for 2018-19 Season; Passage Is Highest-Rated Axed Show
By Matt Webb Mitovich, TVLine.com - Jun. 10, 2019

Touchdown! NBC’s Sunday Night Football and Fox’s Thursday Night Football placed No. 1 and No. 2 for the 2018-19 TV season, with average ratings of 5.9 and 4.4 in the coveted 18-49 demo (including Live+7 DVR playback data).

NBC’s This Is Us, CBS’ The Big Bang Theory and Fox’s The Masked Singer rounded out the Top 5, each averaging a 3.8 rating.

In the demo, The Big Bang Theory (which was down 14 percent year over year) led the comedy pack with its farewell run, with spinoff Young Sheldon placing second (at 2.6, down 21 percent from its freshman run). On the drama side, This Is Us (down 30 percent from Season 2) was trailed by ABC’s Grey’s Anatomy (2.9, down 12 percent) and NBC’s freshman hit Manifest (2.8).

Of the Top 20 non-sports entertainment programs, NBC boasted seven, followed by ABC’s six, CBS’ four and Fox’s three.

In total audience, The Big Bang Theory (averaging 18.1 million viewers) repeated as the season’s most watched comedy, while CBS’ NCIS (15.9 million) reclaimed the top drama spot from This Is Us (13.8 million). All told, CBS delivered 10 of the Top 20 most watched entertainment programs, NBC had eight, and ABC and Fox each had just one.

Here are my hand-curated rankings for the broadcast networks’ assorted offerings; last season’s can be found here. Hit Comments to share what surprises, delights or depresses you.

TOP RETURNING COMEDY | 18-49 DEMO
1 | The Big Bang Theory, CBS (3.8 rating, including any available Live+7 DVR playback)
2 | Young Sheldon, CBS (2.6)
3 | Modern Family, ABC (2.4)
4 | Mom, CBS (1.8)
5 | The Goldbergs, ABC (1.7)
In Total Viewers | The Big Bang Theory (18.1 million)

TOP NEW (OR ‘NEW’) COMEDY | 18-49 DEMO
1 | The Conners, ABC (2.3, including any available Live+7 DVR playback)
2 | Last Man Standing, Fox (1.7)
3 | Single Parents, ABC (1.4)
3 | Schooled, ABC (1.4)
4 | Murphy Brown, CBS (1.3, cancelled)
In Total Viewers | The Conners (10 million)

TOP RETURNING DRAMA | 18-49 DEMO
1 | This Is Us, NBC (3.8, including any available Live+7 DVR playback)
2 | Grey’s Anatomy, ABC (2.9)
3 | The Good Doctor, ABC (2.5)
4 | 9-1-1, Fox (2.4)
5 | Chicago P.D., NBC (2.1)
In Total Viewers | NCIS (15.9 million)

TOP NEW DRAMA | 18-49 DEMO
1 | Manifest, NBC (2.8, including any available Live+7 DVR playback)
2 | New Amsterdam, NBC (2.2)
3 | A Million Little Things, ABC (2.0)
4 | The Passage, Fox (1.7, cancelled)
5 | FBI, CBS (1.6)
In Total Viewers | FBI (12.7 million)

TOP UNSCRIPTED SHOW | 18-49 DEMO
1 |The Masked Singer, Fox (3.8, including any available Live+7 DVR playback)
2 | The Bachelor, ABC (2.4)
3 | Big Brother (Wednesday), CBS (2.3)
4 | Survivor, CBS (2.2)
4 | America’s Got Talent: Champions, NBC (2.2)
In Total Viewers | AGT: Champions (12.4 million)

TOP-RATED CANCELLED/ENDED SHOWS | 18-49 DEMO
1 | The Big Bang Theory, CBS (3.8, including any available Live+7 DVR playback)
2 | The Passage, Fox (1.7)
3 | Star, Fox (1.5)
4 | The Enemy Within, NBC (1.3)
4 | Murphy Brown, CBS (1.3)
Most Total Viewers | Big Bang (18.1 million) and Murphy Brown (8.5 million)

LOWEST-RATED RENEWED SHOWS (SCRIPTED) | 18-49 DEMO
The Outpost, The CW (0.2, including any available Live+7 DVR playback)
In the Dark, The CW (0.2)
Dynasty, The CW (0.2)
Burden of Truth, The CW (0.2)
NON-CW | Madam Secretary, CBS (0.9)
NON-CW | Fresh Off the Boat, ABC (0.9)
NON-CW | Blindspot, NBC (0.9)
NON-CW | Agents of SHIELD, ABC (0.9)
Fewest Total Viewers | Dynasty (797,000)

TOP 10 OVERALL BY DEMO
NBC Sunday Night Football, NBC (5.9, no change)
Thursday Night Football, Fox (4.4, +3% vs. CBS/NBC avg.)
This Is Us, NBC (3.8, -30%)
The Big Bang Theory, CBS (3.8, -14%)
The Masked Singer, Fox (3.8, NA)
The OT, Fox (3.3, -11%)
Grey’s Anatomy, ABC (2.9, -12%)
Manifest, NBC (2.8, NA)
Young Sheldon, CBS (2.6, -21%)
The Good Doctor, ABC (2.5, -26%)
DROPPED OUT OF LAST YEAR’S TOP 10: None

TOP 10 OVERALL BY TOTAL VIEWERS
Sunday Night Football, NBC (18.9 million, +7% year over year)
The Big Bang Theory, CBS (18.1 million, -4%)
NCIS, CBS (15.9 million, -5%)
Young Sheldon, CBS (14.7 million, -11%)
Thursday Night Football, Fox (14.4 million, +4% vs. CBS/NBC avg.)
This Is Us, NBC (13.8 million, -21%)
Blue Bloods, CBS (12.8 million)
FBI, CBS (12.7 million, NA)
The Good Doctor, ABC (12.6 million, -19%)
Manifest, NBC (12.6 million, NA)
DROPPED OUT OF LAST YEAR’S TOP 10: Bull


https://tvline.com/2019/06/10/tv-sea...g-bang-theory/
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TV/Production Notes (Cable)
'Pose' Season 2 (FX)
By Daniel Fienberg, The Hollywood Reporter - Jun. 10, 2019

The second season of FX's Pose takes place in the summer of 1990, with the creeping influence of Madonna's "Vogue" setting an optimistic tone. Even as her health struggles — introduced in the first season — continue to advance, Mj Rodriguez's Blanca, founder and mother of the House of Evangelista, is feeling particularly upbeat.

"Madonna is shining a bright spotlight on us," Blanca declares in Tuesday's premiere, adding later, "We are on the cusp of a revolution."

The dramatic irony, of course, is that although "Vogue" was a landmark of visibility for the Manhattan "ball" scene, many (or most) of the suburban teens and club kids who spent that summer striking a pose either didn't know or didn't give thought to the phenomenon's origins, and the primary beneficiary was Madonna. If Blanca's halcyon predictions had come true, the release of Pose nearly 30 years later would have been praised "simply" as a well-acted, big-hearted period piece and not as a wholly unprecedented slice of small-screen representation for the multicultural queer/trans communities. And it's likely that creators Ryan Murphy, Brad Falchuk and Steven Canals wouldn't have needed to build one of the show's primary spines around recognizable white, cis stars Evan Peters, Kate Mara and James Van Der Beek.

One year after the launch of Pose, maybe we're back on the cusp of a revolution? The first season was justifiably acclaimed; star Billy Porter is at least a part of any thoughtful Emmy conversation; the series' trans leads have been adequately and accurately positioned as the focus of the show; and the Peters/Mara/Van Der Beek storylines have been either excised entirely or at least put on a back burner through the season's first four episodes.

This is not to say that I disliked the Peters/Mara/Van Der Beek parts of the first season. If they eventually return — Murphy is nothing if not a passionate devotee of Evan Peters — I'd have no qualms. It's just thoroughly clear that those storylines were far from necessary to the heart or plot of Pose.

But this also isn't to say that Pose has made a second season leap to "greatness" from "extremely good-ness." The show continues to be a mixture of wonderful moments and head-scratching detours, of excess born of laudable ambition and excess born of nobody telling Murphy, "Maybe trim?" In both cases, fortunately, it's more the former than the latter.

As you can tell from the centrality of "Vogue," we've jumped forward a year or two in the storyline. House of Evangelista is still piling up ballroom trophies, but all isn't perfect. Blanca's T-cell count is low. She and Pray Tell (Porter) have a tally of the funerals and memorials they've attended that is now in the hundreds. The season begins with the two friends, so close that there should probably be some sort of conflict-of-interest recusal when Blanca's house competes at balls MC-ed by Pray Tell, out at Hart Island, the Bronx-adjacent potter's field with an isolated area sequestered for AIDS patients. It's a harrowing start for a season that definitely has some enhanced sense of outrage directed at the government for its mishandling of the crisis and at doctors and drug companies for making early treatments available only to the wealthiest of patients. With the help of Sandra Bernhard's Nurse Judy, Pray Tell's involvement in ACT UP is one of the season's most passionate threads.

Despite a mounting plague, the show hasn't lost the optimism that was central to the closing episodes of the first season, restructuring the story as almost an AIDS-era fairy tale, with unavoidable core darkness and yet an unassailable hope that ducklings can become swans and swans can become princesses and the love of family can conquer all. These early episodes have Blanca, Angel (Indya Moore) and Elektra (Dominique Jackson) all pursuing different unexpected professional aspirations that play off of unexpected strengths, whether it's the stunning Angel's vaunted ability to pass or Elektra's impressive ability to dominate every room she walks into. Potential love stories see Angel Bismark Curiel's Lil Papi becoming a central character, which isn't a bad thing, and render Ryan Jamaal Swain's dancing, other than voguing classes at the YMCA, a non-factor, which is less good.

There's some floundering here. The third episode, directed by Janet Mock (writer of the strong second episode and co-writer of the fourth), goes sour around a body disposal detour that tries for almost wacky dark comedy and instead dips into a genre we now know Pose doesn't do well. That misgauged farce is a bad setup for a funeral-based fourth episode in which Murphy, as director, buries some fine acting and potentially devastating beats in clumsy whimsy and a flabby 63-minute running time.

Like its characters, however, Pose generally recognizes its strengths. When I reviewed the show upon its initial premiere, Porter's Pray Tell came across as a scene-stealing supporting role, only to emerge as a true lead by the standout "Love Is the Message" episode. The show is more and more conscious of how good Porter is at being hilarious one moment and lacerating (and self-lacerating) the next and even without any single moment as good as his karaoke duet with Blanca, it's a more developed performance this time around. Jackson's fierceness, Rodriguez's bruised soulfulness and Moore's resilient buoyancy are the driving forces for three performances that are truly great, not just representational milestones. No episode passed without Jackson making me laugh multiple times, Rodriguez breaking my heart a little and Moore's star status becoming more and more apparent.

Mostly it's the main returning characters, including Angelica Ross' Candy and Hailie Sahar's Lulu, who benefit from the screentime freed by the Peters/Mara/Van Der Beek absence. Expanded time for Nurse Judy is a mixed bag. When she's sparring with Porter, Bernhard is very good, but when she's asked to be an indignant expositional device or the fictionalized embodiment of a very real activist movement, it's like she's never seen the dialogue before and she becomes a real stumbling point. Better is Patti Lupone as a real estate queen whose name might as well be Heona Lelmsley and whose interactions with Rodriguez are a fussy, huffy hoot.

I expect that "Vogue" and Madonna are going to end up disappointing Blanca as the second season of Pose continues, falling short of promise. Thus far, thankfully, the return to Pose isn't disappointing, and its promises, progressive and dramatic, are largely delivered upon.

Pose (Season 2)
Premieres: Tuesday, 10 p.m. ET/PT (FX)
The Bottom Line: Don't just stand there, let's get to it: Watch 'Pose,' there's nothing to it.


https://www.hollywoodreporter.com/re...review-1217185
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TV/Production Notes (Streaming)
Sandra Bullock’s College Years to Be Developed as Amazon Series With John Legend, Akiva Goldsman
By Joe Otterson, Variety.com - Jun. 10, 2019

Amazon is developing a series loosely inspired by Sandra Bullock’s college years, Variety has learned.

Bullock will executive produce the series along with Akiva Goldsman and John Legend. K.C. Perry will write and executive produce. The series is described as a dramedy set in the world of music and dance. It will take place in the American deep south in the 1980s, where one darkly off-beat young woman defies expectations and sets out in search of love, community, and an identity of her own.

The idea for the series is said to have come from conversations between Bullock and Goldsman. Goldsman then brought in Marja Lewis-Ryan and Legend’s Get Lifted Film Co. to further develop the idea as a series. Lewis-Ryan is now focused on the “L Word” revival at Showtime and will therefore serve as consulting producer on the Amazon project. Goldsman and Legend previously collaborated on the WGN America series “Underground.”

Get Lifted’s Mike Jackson, Greg Lessans of Goldsman’s Weed Road, and Bullock’s Fortis Films will also executive produce.

Perry most recently wrote the pilot “Constance” for TNT starring Elisabeth Shue. Her previous credits include “Damien” and “The Originals.” Perry was represented in the deal by attorney Eric Feig.

Bullock, Legend, and Goldsman have all won Academy Awards in different categories: Bullock for best actress for “The Blind Side;” Goldsman for best adapted screenplay for “A Beautiful Mind;” and Legend for best original song for the film “Selma.”

Should the project move forward, it would not be the first television series that Bullock has produced. She was previously an executive producer on George Lopez’s self-titled ABC comedy series, which ran for six seasons. Goldsman’s TV producing credits include “Star Trek: Discovery” and the upcoming “Star Trek: Discovery” at CBS All Access, “Titans” at DC Universe, Fox’s “Fringe,” and the miniseries adaptation of “Childhood’s End.” In addition to producing “Underground,” Legend has executive produced the show “Sing It On” and films like “La La Land” and “Southside with You.”

https://variety.com/2019/tv/news/san...an-1203238108/
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TV/Legal Notes (Streaming)
Linda Fairstein Calls Ava DuVernay’s When They See Us an ‘Outright Fabrication’ in Op-Ed
By Halle Kiefer, Vulture.com (New York Magazine) - Jun. 11, 2019

Following the debut of Ava DuVernay’s When They See Us on Netflix, many viewers unfamiliar with the story of the Central Park Five were horrified by the character of Linda Fairstein, then-head of the Manhattan District Attorney’s sex-crimes unit, who played a pivotal role in prosecuting five African-American teenagers accused of raping a white female jogger in 1989. The ongoing backlash has been so great that Fairstein, played by Felicity Huffman in the show and now a crime novelist, was dropped by her publicist last week. She also withdrew from the board at Vassar College, God’s Love We Deliver, and the Joyful Heart Foundation.

When They See Us producer Jane Rosenthal alleged Sunday that Fairstein had refused to consult on the series if the show’s production also consulted with the five now-exonerated men. (In a Daily Beast interview from last week, Fairstein denied attempting to negotiate her involvement with the production.) In an op-ed for the Wall Street Journal published last night, Fairstein attempts to defend her integrity, calling When They See Us “a series so full of distortions and falsehoods as to be an outright fabrication.”

Fairstein takes issue with three conceits of DuVernay’s show. Firstly, that Fairstein and police rushed to blame Korey Wise, Kevin Richardson, Raymond Santana, Antron McCray, and Yusef Salaam for Trisha Meili’s attack due to a toxic combination of confirmation bias, racism, and incompetence. Secondly, that the boys’ confessions were coerced after they’d been deprived of food, bathroom visits, and parental presence, a claim Fairstein has also denied in the past. “If that had been true, surely they would have brought those issues up and prevailed in pretrial hearings on the voluntariness of their statements, as well as in their lawsuit against the city,” she claims. “They didn’t, because it never happened.”

Thirdly, that the Central Park Five’s exoneration for the rape of Meili following the confession of serial rapist and murderer Matias Reyes means they did not commit the other crimes for which they were convicted. The five were among approximately 30 teenagers in Central Park on the evening of April 19, 1989, during which several people were robbed and assaulted in the park.

“Mr. Reyes’s confession, DNA match and claim that he acted alone required that the rape charges against the five be vacated,” writes Fairstein. “I agreed with that decision, and still do. But the other charges, for crimes against other victims, should not have been vacated. Nothing Mr. Reyes said exonerated these five of those attacks. And there was certainly more than enough evidence to support those convictions of first-degree assault, robbery, riot and other charges.”
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In 2001, Reyes confessed to committing the rape alone, a claim corroborated by the presence of his DNA on the victim. All five of the accused, none of whose DNA was found on the victim, were subsequently exonerated and released from prison. In 2003, they sued New York City for malicious prosecution, racial discrimination, and emotional distress. The city settled with them in 2014 for $41 million. On Twitter, DuVernay retweeted a post about Fairstein’s rebuttal. “Expected and typical,” she wrote. “Onward …”

https://www.vulture.com/2019/06/lind...ey-see-us.html
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TV Notes (Cable)
HBO Cancels ‘Vice News Tonight’
By Michael Malone, Broadcasting & Cable - Jun. 11, 2019

HBO has canceled the Vice News Tonight series. As the name suggests, the 30-minute program was a daily one. It premiered in 2016 and will end in September.

Prior to Vice News Tonight, HBO and Vice Media partnered on weekly newsmag Vice, which was cancelled last year. The cancellation of Vice News Tonight ends the seven-year partnership between Vice Media and HBO.

Vice News Tonight averaged a little more than 550,000 daily viewers, according to the New York Times.

Nancy Dubuc is CEO of Vice Media, joining the company from A+E Networks in May 2018.

Vice Media is at work on a news program for Hulu, according to The Hollywood Reporter.

Jesse Angelo, former publisher of the New York Post, joins Vice Media as president of global news and entertainment. Josh Tyrangiel, Vice Media news chief, is departing.

https://www.broadcastingcable.com/ne...e-news-tonight
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TV/Business Notes
BET to Launch Streaming Service With Tyler Perry’s Backing
By Tim Baysinger, TheWrap.com - Jun. 10, 2019

We have another entrant into the streaming wars: BET.

Viacom plans to launch a streaming service focused on the African-American cable network called BET+, the Wall Street Journal reports. The upcoming service, which will launch in the fall, will feature original content from Tyler Perry, who will be a financial stakeholder in the service.

It will also house long-awaited “First Wives Club” reboot, which was initially developed for The Paramount Network but shifted over to BET, according to The Hollywood Reporter. Representatives for Viacom and BET did not immediately respond to TheWrap’s request for comment.

The service will also feature content from BET’s sister networks like MTV, Comedy Central and VH1, the Journal reported. There was no word on pricing but the WSJ said it would cost more than the $2.99-per-month for Viacom’s children-focused Noggin service. Viacom acquired streaming service Pluto TV in January for $340 million. The ad-supported service features library content from Viacom as well as CNN and Complex.

BET+ is joining an increasingly-crowded streaming marketplace that includes Netflix, Amazon and Hulu, as well as new entrants Apple, Disney, WarnerMedia and NBCUniversal. While BET+ will the company’s first subscription offering, Viacom has so far resisted launching a company-wide option.

https://www.thewrap.com/members/2019...errys-backing/
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Jun. 11, 2019

BUTCH CASSIDY AND THE SUNDANCE KID
TCM, 8:00 p.m. ET

There’s not much to watch on TV tonight – but so long as one of my all-time favorite movies is being presented in prime time, uncut and uninterrupted and in widescreen, I’ve got no complaints. So sit back and watch screenwriter William Goldman and director George Roy Hill’s collaboration on a perfect Western, starring Paul Newman, Robert Redford and Katharine Ross. This fabulous film is now 50 years old. Fifty. But it still seems so fresh, so funny, and so endlessly quotable. “Bingo!” “Rules?” You just keep thinkin’ there, Butch…”

MEDIUM COOL
TCM, 10:00 p.m. ET

Here’s another movie that’s now 50 years old. And though it hasn’t aged as well as Butch Cassidy and the Sundance Kid (partly because it wasn’t a period piece to begin with), Medium Cool is very much a fascinating trapped-in-amber slice of its times. And in director Haskell Wexler’s 1969 movie, most of the background drama has to do with all the volatility surrounding the 1968 Democratic National Convention. Robert Forster stars, playing a TV camera operator covering the convention in Chicago.


http://www.tvworthwatching.com/
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Obituary
William D. Wittliff, Screenwriter on 'Lonesome Dove' and 'Legends of the Fall,' Dies at 79
By Mike Barnes, The Hollywood Reporter - Jun. 10, 2019

William D. Wittliff, the elegant Texas screenwriter who penned the teleplay for the acclaimed miniseries Lonesome Dove and worked on such features as Legends of the Fall, Honeysuckle Rose and The Perfect Storm, has died. He was 79.

Wittliff died Sunday in Austin of a heart attack, Hector Saldana of Texas State University told The Hollywood Reporter. In 1986, he and his wife, attorney Sally Wittliff, founded The Wittliff Collections, a research center and archive at the San Marcos school that is home to more than 500 collections of literature, photography, music and film.

Wittliff's wonderful body of work also includes The Black Stallion (1979), starring Mickey Rooney; Raggedy Man (1981), starring Sissy Spacek, Eric Roberts and Sam Shepard; Country (1984), featuring Shepard and Jessica Lange; The Cowboy Way (1994), starring Woody Harrelson and Kiefer Sutherland; and A Night in Old Mexico (2013), starring Robert Duvall.

Wittliff co-wrote Honeysuckle Rose (1980), directed by Jerry Schatzberg and starring Willie Nelson, Dyan Cannon and Amy Irving. He then wrote two other features that starred Nelson: the Fred Schepisi-helmed Barbarosa (1982) and Red Headed Stranger (1986), which he also directed.

The four-part Lonesome Dove, based on Larry McMurtry's 1985 Pulitzer Prize-winning novel, collected seven Emmy Awards and was a ratings smash for CBS in 1989. Wittliff earned nominations for writing and producing, two of the project's 18 noms.

Wittliff was born in 1940 in Taft, Texas. During World War II, his mother ran a small telephone office in Gregory, Texas, and he used that as the foundation for Raggedy Man, with Spacek playing a version of his mom.

After he graduated from the University of Texas, Wittliff and his wife founded The Encino Press, an Austin-based book publishing company that specialized in tales about Texas and the Southwest, in 1964.

He and Susan Shilliday combined for the screenplay to Edward Zwick's Legends of the Fall (1994), starring Brad Pitt and Anthony Hopkins, and he adapted Sebastian Junger's book for Wolfgang Petersen's The Perfect Storm (2000), starring George Clooney and Mark Wahlberg.

He also wrote Ned Blessing: The True Story of My Life, a pilot for a CBS series that starring Daniel Baldwin.

The Wittliff Collections include manuscripts from the likes of McMurtry, J. Frank Dobie and Horton Foote; more than 19,000 photographs of the Southwest and Mexico (Wittliff was an accomplished photographer in his own right); and music from Nelson, Stevie Ray Vaughan and many others.

Wittliff and his wife had celebrated their 56th wedding anniversary Saturday, and he died after visiting their Plum Creek ranch near Luling, Texas, said Saldana, who serves as Texas music curator for The Wittliff Collections.

His survivors also include his children, William and Allison; his brother, James; and several grandchildren.

https://www.hollywoodreporter.com/ne...was-79-1217217
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